Joan Minor--Majoring in Music

© by Monique Y. Wells

“I think Ms. Joan Minor has such a beautiful voice and I think this young lady sings about as beautiful as she is…” B. B. King

Joan Minor is one of “those people”. Those who make sweeping changes in their lives, giving up the corporate world to pursue more creative outlets such as music or writing. Those who no longer want to be surrounded by the trappings of the U.S. brand of success and so move to a foreign country. Those who fall in love long after they thought it no longer possible, and marry their soul mate. Those who heed the call of their hearts and don’t look back!

Minor rapidly made a name for herself when she moved to Paris in 1999, forming the Joan Minor Trio (aka MAJOR MINOR) and performing in jazz clubs and restaurants around town. She often headlined at The China Club, Les 7 Lézards and Le Petit Journal, but did not neglect intimate venues such as the Swan Club and Haynes’ Restaurant. She recorded her first CD, Integrity Matters, in 2003.

Joan consented to the following interview before she found herself walking down the aisle to marry a debonair Scotsman in December 2003. She moved from Paris to New York with him in January 2005 to begin a new phase of life. But one thing remains constant – her pursuit of music, both in the studio and on stage.

MW: When did you decide to take up singing?
JM: Music has been part of my life for as long as I can remember. Whether it was tapping out rhythms on the table, clanging the piano, or playing the violin, I've always had a melody in my spirit. Singing is that "portable" instrument you always have. I've always heard melodies inside and wanted to get them out. Singing is one of my greatest pleasures.

MW: What attracted you to the music world?
JM: I got tricked! Musicians made it look fun. I didn't realize it was such hard work! Seriously, I don't really know. I've always been attracted to melodies and rhythms. In addition to my love for music and syncopation, I've always had a fascination with audiences, a curiosity about why people feel comfortable with one person, but not with groups. Personally, I've never been overly afraid of groups. Music is one way of communicating with groups, whether they're big or small. But I'm not attracted to music only. I love other aspects of expression as well, like dance and theatre. I admire people confident enough, or perhaps foolish enough, to get up in front of others to give their all - their willingness to show vulnerability, to risk public embarrassment or failure on stage.

MW: Are you self-taught or do you take voice lessons?
JM: I've had years of formal voice training, starting in high school. At one time I thought I wanted to be an opera singer.  I thought Leontyne Price was phenomenal.  I've also been trained on piano and violin, though I don't claim to be very good at either. One of my favorite instruments is the violin. I still take voice lessons occasionally, especially if I feel problems developing.

MW: How long did it take for you to consider yourself good enough to perform before an audience?
JM: Like so many others, I was raised in church.  So, I can't remember when I didn't have an audience. Also, my family and extended family is pretty large.  At family get-togethers, we were each other's audience and support. Music was an integral part of our lives. We encouraged one another to sing or dance or crack jokes, or something. Not that everybody was great at everything. But you always felt comfortable, free to do something. Consequently, there are several in my family who are "into music", like myself, my brother, who's a guitarist, cousins who sing, play instruments, compose music, etc.

MW: When and where was your first amateur performance?
JM: One of the earliest I remember, outside family gatherings, was probably when I sang at the church next door.  I was playing by myself at home when I heard music at the church.  They were having a revival.  It sounded so lively, much more fun than whatever I was doing, so I went over.  When I got there, some little kids were singing.  After they finished, I asked if I could sing.  I didn't know what I was going to sing, I just wanted to participate. When I reached the front of the church, I started wailing at the top of my voice..." Well now, Lawdy, Lawdy Lawdy Miss Claudie, you sho' look good to me...!" I was about 7 years old and wasn't very sophisticated about different types of music.  I figured if it had the word "lawd" in it, it was alright to sing. I definitely still remember that evening.

MW: When and where was your first professional performance?
JM: After college, in the 80s, in a jazz club in California. The band and I used to joke about the club being built over a burial ground. It was a fabulous room with good food, but nobody ever came! All the bands that ever played that room had the same experience. It was weird.

MW: Did you start to pursue singing while you were still working as an HR executive at Stanford University?
JM: Yes. After college, I worked at Stanford for over 25 years. Before that, I had never sung in nightclubs. Almost to my surprise, I kept getting club engagements. My day and night jobs were totally different, and both required lots of determination and discipline. In addition, I was a single parent at the time. I'd call to check on my son between sets.  Several years during the Christmas holidays, I existed on virtually no sleep. I suppose that's one of the advantages when you're younger. I still don't require a lot of sleep, but having that little today would kill me! In any event, the experience made me more organized. I can be pretty focused.

MW: Why did you choose to pursue jazz over other forms of music?
JM: Frankly, I didn't believe I had the voice to do some of the pop and R&B tunes that were popular when I started. Plus, I liked the subtlety and nuances of jazz as well as the broader musical freedoms. I mean, think about it. People frequently use the terms "free" or "standard" in reference to jazz music.  This speaks to the level of improvisation possible with this particular genre of music.

MW: Do you sing other forms of music professionally?
JM: Now I do. I sing jazz, R&B, funk, blues, gospel and everything else! I believe music evolves continually.  As an artist, my ideas have grown about what's possible for me musically.

MW: Please talk a little about your gospel singing and teaching gospel music to French students.
JM: First, I'm a Christian. So singing Gospel Music allows me to express my personal faith. Second, I love directing because it gives me an opportunity to share this music that is so rooted in the Black American experience in another culture. And while I'm not paid to proselytize, I cherish the chance to correct misconceptions about what gospel music is – to clarify that it is praise and not entertainment. I occasionally sing gospel tunes even at my jazz concerts, if the spirit leads me...

MW: How much time to you spend on gospel music in comparison with your jazz endeavors?
JM: It's hard to say, but I imagine about 1/4 of my time is spent on sacred music. Besides clubs, I perform for weddings, funerals and of course I do Gospel Concerts.

MW: Who is your favorite jazz singer from the past? Your favorite gospel singer? JM: There are so many fantastically talented artists both past and present.  If forced to choose only one from each category, it would have to be: Sarah Vaughan and Mahalia Jackson.

MW: Who is your favorite contemporary jazz singer?  Your favorite gospel singer?
JM: There are definitely too many talented contemporaries to choose only one. Among the jazz artists I admire, there are: Nancy Wilson and Diane Reeves…In Gospel, I like Yalonda Adams, Chris Willis and many others.

MW: Describe how you connected with other musicians in Paris and how you came to form MAJOR MINOR.
JM: When I arrived in Paris, I simply started talking to people and looking around to find out what was going on musically. I don't consider myself an expert on how to break into a new city musically. It just made sense to me to ask for information and to observe. Fortunately, I'm not shy about this, probably because of my background in Human Resources. That's how I found the musicians I've been privileged to work with in my own band, MAJOR MINOR. Occasionally, I am invited as the guest vocalist with somebody else's band. It's important to let folks know you're serious about music and that you're open to new musical ideas.

The band name "MAJOR MINOR" was suggested by a pianist I used to work with in California. The name is musically catchy, plus it's my name. My idea in using this name for the group was to make it clear that good music takes a team effort.  There's no single "star" so to speak. So I've called all my groups "MAJOR MINOR" for more than 20 years.

MW: What inspired you to make Paris home?
JM: Paris was my first trip abroad back when I was a college student. I studied at the Sorbonne in the 70's and fell in love with this city. So, after my career at Stanford, I returned to Paris expecting to stay for maybe a year. I've been here now off and on almost six years.

MW: Did the history of jazz in France play a role in your decision?
JM:I'm not aware that it played a role. I know that large numbers of Americans, especially artists before me, have adored working and/or living in Paris. But, I did not presume that the same atmosphere they found in the past would necessarily hold true today. Things always change. And from what people tell me, the music scene in Paris today is different than 20 or even 10 years ago. So, it's a good thing I came not expecting anything particular. I just wanted to experience something different. The inroads I've made, as well as the warmth and welcome from French audiences, are all the sweeter!

MW: How does life in Paris compare to that of Northern California?
JM: They are totally different, which is fine since that's what I was hoping for. Practically speaking, I lived in a smaller space with less stuff. At the same time, the quality of life is comparable in terms of the richness of both cultures. I love both places.

MW: Specifically, how does the jazz scene in Paris compare to that of Northern California?
JM: Tough question. Let me put it this way: the world is so small that a person is influenced by outside factors no matter where they live. This is especially true for artists. They just have to listen and be open to new ideas. But jazz came from America. You've got to keep up with what's happening there in order to stay on the cutting edge. At the same time, world-music with influences from Africa, Eastern cultures, etc. are in the mix too. So in short, when you talk about musical comparisons, it's complicated.

It's probably easier to discuss audience comparisons. I find American audiences much more vocal in expressing their likes and dislikes. Consequently, it's easier to gauge in "real-time", so to speak, whether you're on target. I like that. The call-response, feedback thing. But, I've learned to also appreciate the more studied, respectful European quiet. There are also distinctions in terms of club owners and booking agents. Californians will say straight up if they don't like your product. I get the impression this is considered impolite in Paris.

MW: How has moving back to the U.S. affected your musical pursuits?
JM: Moving to New York has given me revitalized energy – an edge to do different things artistically as all moves away from familiar environments tend to do. I am now appearing as Joan Minor with various local groups.

MW: How has married life affected your musical pursuits?
JM: The effect of my marriage is wonderful! It's great to have someone besides yourself who believes in your talent. Also, my husband is a businessman. So he gives me additional, needed perspectives from this standpoint.

MW: Do you plan to perform in Paris again?
JM: Yes. I expect to go back and forth between Paris and New York.

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